Renzo Filinich presents here two improvised pieces, whose narrative beauty illusively veils the intricacy of his research and personal approach. “From my point of view, I work within a personal context rather than one that might have to do with what is currently happening in the present musical panorama”, he tells us. “Electronic pieces have been elaborated, as long ago as the 60s, calling into play organic sonic elements with random processes, through feedback; as in the ‘cybernetic pieces’ of Roland Kayn. When we come to the present context, which (in informational terms) is entropic, these two pieces point in a completely opposite direction; they are negentropic: in other words, there is a sonic behavior that is developed, whose transformation and temporal equilibrium is operated by means of improvising with the system as a whole”, he further contextualizes.
In qualifying both pieces, the dichotomy between organic and inorganic elements is present, now blended into what Filinich names ‘hybrid ecology’. “Accordingly, this sets off an ‘organological system’, of structures and functions, which implies a new organicity, a repetitive process, or recursive one, as trigger for contingent events. Both these pieces follow a sequence.
The first one is more restrained, the beginning of this system; that initiates with a tone from the bass register. The second piece is more complex; it’s a development of the first, where the new hybrid ecosystem (organic/inorganic) is feedback in order to generate its own sonic gestures. In both pieces, I’m interested in highlighting the fact that we are living in a time endowed with its own recursive organicity; to understand the latter we must understand its significance, as well as find ways to analyze and describe it.”
Essentially, working with Max/MSP, Supercollider, live coding and Midi controllers to shift values and sonic parameters, when asked to what degree his ‘instrument’ conditions and/or stimulate his creative process, he promptly replies, “I consider my tools as an extension of my creativity, the crux of the matter is to understand them as a physical and cognitive extension, in order to generate theses creative stimuli.”
Questioned about the purpose of the Tibetan singing bowl, an acoustic element, uniquely resounding in a vast digital cosmos, Renzo Filinich is unabashed in his response, “the intention is twofold; one relates to its timbre qualities, the other is, more importantly, symbolical; I wish to reveal the new metaphysics of the human condition; which involves a spiritual dimension, a creative poesis. We need a new approach, detached from modernity. Inherent in the current informational epoch there is a new spirit which begs new ways of thinking about the world and who we are.”
Abdul Moimême - Lisboa, January 2022

This album is dedicated to Sara Granados